Bladmusiek $75.00

Oorspronklik

Robbins' Nest. B-Flat Trumpet sheet music. Bass Trombone sheet music. Horn sheet music. Tuba sheet music. Advanced.

Vertaling

Robbins 'Nest. B-Flat Trumpet bladmusiek. Bastrombone bladmusiek. Horn bladmusiek. Tuba bladmusiek. Gevorderde.

Oorspronklik

Robbins' Nest by The Claude Thornhill Orchestra. Edited by Jeffrey Sultanof. Arranged by Gil Evans. For big band. 2 Alto Saxophones. both double clarinet. , 2 Tenor Saxophones. tenor saxophone 2 doubles bass clarinet. , 1 Baritone Saxophone, 3 Trumpets, 2 Horns in F. alternate parts included - 4th trumpet and 3rd trombone. , 2 Trombones, 1 Tuba. or bass trombone. , Guita. Swing. Difficult. Full score and set of parts. Published by Jazz Lines Publications. JL.JLP-8097. Background. Some of the most well-known arrangements of modern jazz from the mid-1940s. commonly called bebop, although most of the musicians playing the music disliked the term. were written for the Claude Thornhill Orchestra by its musical director, Gil Evans. Robbins Nest, while not strictly a bebop line, nevertheless remains popular with jazz musicians, and Evans setting of it is one more classic in post-war big band music. For many years, Evans music was at the top of pretty much any band directors wish list as music they wanted their students to play and study. We are delighted to make this music available in the best possible editions. The Music. Robbins Nest was written by tenor saxophonist Illinois Jacquet and pianist Sir Charles Thompson, and they recorded the piece in May of 1947. Lyrics were added by Bob Russell, and this version is known as Just When Were Falling In Love. The piece was subsequently recorded by many artists, including the orchestras of Claude Thornhill and Count Basie. Another version was waxed by the excellent Sam Donahue Orchestra, and this record was as close to a hit as Donahue had. Donahue was still playing it on the road with his orchestra ten years later. Robbins Nest was named after the radio program of the same name hosted by well-known media personality Fred Robbins. 1919-1992. in New York City, heard on various stations over the years. Robbins was all over radio and television as a variety show and quiz show host, actor, and writer. In 1947, he was primarily known as a modern jazz DJ, and the newest records were heard on his program. Please note that this arrangement was recorded for Columbia Records and for radio transcriptions. The Columbia recording has a cut from bars 60-66 because of time. all transcriptions are complete and are easy to find on CD. Notes to the Conductor. If I were asked to name a piece where it seemed like the ensemble was going to explode but never does, I would immediately think of this arrangement. The Thornhill Orchestra was known as an ensemble that featured extreme contrasts in dynamics, from very soft to loud. Thornhill gave interviews about how he admired the Glenn Miller Orchestra for its dynamic control, and how he sought to imitate it. Although there are some sections of Robbins Nest that are moderately loud to very loud, the key to the success of this arrangement is softness. the ability to play very relaxed yet softly at the same time, which is seldom asked for in the music many big bands study and play today. This is the perfect piece to practice such an approach. Additionally, some of the voicings are highly dissonant and demand perfect intonation. Grinds of half-steps against each other. F# against G natural, Db against C, often in the same instruments. are an Evans trademark in all his music, from Thornhill to the classic Miles Davis albums Miles Ahead and Porgy and Bess. he even asks for quarter tones in the trombones in some settings. , and musicians must get used to them, even though they may have encountered them previously in the music of Maria Schneider and Bob Brookmeyer. Here they are used in a popular music vein vs. composition. I have resisted the temptation to put excessive articulation in the parts, as Ive found that in doing so, it can tend to be exaggerated in performance. Evans music must be played many times so that musicians get every last nuance he put into it, and in doing so, you and the band will find your way toward a performance that everyone will be comfortable playing and hearing. Jeffrey Sultanof -February 2010 Note. The sound sample is courtesy of the Manhattan School of Music's Concert Jazz Band, conducted by Justin DiCioccio.

Vertaling

Robbins 'Nest deur die Claude Thornhill Orkes. Geredigeer deur Jeffrey Sultanof. Gereël deur Gil Evans. Vir big band. 2 Alto saxofoons. beide dubbel klarinet. , 2 Tenor saxofoons. saxofoon 2 verdubbel basklarinet. , 1 bariton saxofoon, 3 blaas, 2 Horings in F. alternatiewe dele ingesluit - 4 basuin en 3 trombone. , 2 Trombones, 1 Tuba. of bastromboneconcert. , Guita. Swing. Moeilik. Volle telling en stel dele. Gepubliseer deur Jazz Lines Publications. JL.JLP-8097. Agtergrond. Sommige van die mees bekende reëlings van die moderne jazz uit die middel van die 1940's. algemeen bekend bebop, hoewel die meeste van die musikante die musiek speel nie van die term. is vir die Claude Thornhill Orkes geskryf deur sy musikale regisseur, Gil Evans. Robbins Nest, terwyl dit nie streng 'n bebop lyn, bly nietemin gewild met jazz-musikante, en Evans instelling van dit is nog 'n klassieke in die post-oorlog big band-musiek. Vir baie jare, Evans musiek was aan die bokant van pretty much 'n band direkteure wenslys as musiek wat hulle wou hul studente te speel en studie. Ons is verheug om hierdie musiek beskikbaar in die beste moontlike uitgawes. Die Musiek. Robbins Nest is geskryf deur tenoor saksofoonspeler Illinois Jacquet en pianis Sir Charles Thompson, en hulle aangeteken die stuk in Mei 1947. Lirieke is bygevoeg deur Bob Russell, en hierdie weergawe is bekend as Net wanneer val in die liefde. Die stuk is later deur baie kunstenaars, insluitende die orkeste van Claude Thornhill en Count Basie aangeteken. Nog 'n weergawe was geword deur die uitstekende Sam Donahue Orkes, en hierdie rekord was so naby aan 'n treffer as Donahue het. Donahue is nog steeds speel dit op die pad met sy orkes tien jaar later. Robbins Nest is vernoem na die radio program met dieselfde naam aangebied deur bekende media-persoonlikheid Fred Robbins. 1919-1992. in New York City, gehoor op verskeie stasies oor die jare. Robbins was al oor die radio en televisie as 'n verskeidenheid show en quiz show host, akteur en skrywer. In 1947, was hy veral bekend as 'n moderne jazz DJ, en die nuutste rekords op sy program gehoor. Neem asseblief kennis dat hierdie reëling is aangeteken vir Columbia Records en vir radio transkripsies. Die Columbia-opname het 'n sny van bars 60-66 as gevolg van die tyd. Alle stukke is voltooi en is maklik om te vind op die CD. Aantekeninge tot die dirigent. As ek gevra is om 'n stuk waar dit gelyk of die ensemble gaan ontplof, maar nooit doen te noem, sou ek dadelik dink van hierdie reëling. Die Thornhill-orkes is bekend as 'n ensemble wat bestaan ​​uiterste kontraste in dinamiek, van baie sag tot hard. Thornhill het onderhoude oor hoe hy bewonder die Glenn Miller Orchestra vir sy dinamiese beheer, en hoe hy probeer om dit na te boots. Hoewel daar is 'n paar dele van Robbins Nest wat matig hard tot baie hard, die sleutel tot die sukses van hierdie reëling is sagtheid. die vermoë om te speel baie ontspanne nog sag op dieselfde tyd, wat selde gevra om in die musiek baie groot bands bestudeer en vandag speel. Dit is die perfekte stukkie so 'n benadering te oefen. Verder, 'n paar van die voicings is hoogs dissonante en eis perfekte intonasie. Kners van half-stappe teen mekaar. F# against G natural, Db against C, often in the same instruments. is 'n Evans handelsmerk in al sy musiek, van Thornhill aan die klassieke Miles Davis albums myl voor en Porgy and Bess. Hy het selfs vra vir kwartaal toon in die trombone in sommige instellings. En musikante moet gewoond raak aan hulle, selfs al het hulle dalk hulle voorheen teëgekom het in die musiek van Maria Schneider en Bob Brook Meyer. Hier word hulle in 'n populêre musiek trant vs. samestelling. Ek het die versoeking oormatige artikulasie te sit in die dele, soos Ive het bevind dat dit te doen, kan dit geneig in prestasie te oordryf word weerstaan. Evans musiek moet baie keer gespeel word sodat die musikante kry elke laaste nuanse wat hy daaraan bestee, en om dit te doen, sal jy en die band jou pad na 'n prestasie vind dat almal sal gemaklik speel en verhoor. Jeffrey Sultanof-Februarie 2010 Let wel. Die klank voorbeeld is met vergunning van die Manhattan School of Music se Concert Jazz Band, wat deur Justin DiCioccio.